Vikram Kumar B R: Taking Kuchipudi Beyond Solo Performances
Indian classical dance has traditionally been associated with individual artistes presenting carefully developed repertoire on stage. However, the possibilities of classical dance expand considerably when choreography, theatre, folk traditions, history and contemporary social themes are brought together. Vikram Kumar B R, widely known in artistic circles as Bathina Vikram Goud, has built a significant part of his artistic career around this broader approach to Kuchipudi.
A trained Kuchipudi artiste, choreographer, theatre personality, researcher and cultural organiser, Vikram Kumar has moved beyond the conventional boundaries of solo performance to create thematic ballets and large-scale productions. His work demonstrates an effort to use classical dance not only as a form of artistic presentation but also as a medium for storytelling, cultural interpretation and social communication.
A Strong Foundation in Kuchipudi
Vikram Kumar’s connection with Kuchipudi began during childhood, supported by the encouragement of his father. He later strengthened his practical knowledge through formal academic education at Andhra University, where he completed a Master of Arts in Kuchipudi with distinction.
His university years also provided opportunities to explore the academic and institutional dimensions of dance. He played an important role in the establishment of the Department of Dance at Andhra University and undertook research into traditional Kuchipudi subjects.
His postgraduate research focused on Siva Thandavam and Saptha Thandavam, including comparative study connected with the literary works of poet Puttaparthi Narayanacharyulu. His dissertation received 100 percent approval from Andhra University, according to his profile.
This academic foundation became an important element of his later approach to choreography.
Expanding the Language of Classical Dance
Rather than restricting Kuchipudi to individual stage presentations, Vikram Kumar began developing productions that combined dance with narrative structure and theatrical elements.
His approach allowed historical and mythological stories to be presented through choreography while incorporating elements from other traditional performance practices.
A prominent example is Chenchu Lakshmi Narasimha Kalyanam, an experimental thematic ballet based on the history and traditions associated with Lord Narasimha of Simhachalam.
The production combines Kuchipudi classical technique with traditional folk forms, creating a presentation that seeks to connect classical and regional cultural traditions. According to the information provided about the production, it has been staged at more than 150 venues across India.
The scale of its presentation demonstrates Vikram Kumar’s interest in taking classical dance to audiences beyond the traditional classical-dance circuit.
Classical Dance and Contemporary Concerns
Another important production associated with his work is Swachh Ganga – Swachh Bharat.
Inspired by Bhagiratha Vilasam, the production uses classical dance storytelling to address contemporary concerns relating to clean water and environmental responsibility.
This approach illustrates an important characteristic of Vikram Kumar’s choreography: traditional artistic vocabulary can be used to communicate subjects that are relevant to modern society.
Instead of presenting classical dance exclusively through historical themes, the stage can also become a platform for discussing environmental and social issues.
His choreographic portfolio further includes Maha Visakha Vaibhavam, Sri Krishna Leelalu, Society for Future and Youth Never Sleeps, covering a range of mythological, cultural and social subjects.
Theatre Training Strengthened His Choreographic Approach
Vikram Kumar’s movement toward thematic productions was also supported by his parallel involvement in theatre.
He completed Diplomas in Acting and Direction at Andhra University and remained associated with the university’s Department of Theatre Arts for approximately ten years.
During this period, he worked in mythological, social and philosophical plays. His experience as both an actor and director provided him with exposure to dramatic storytelling, stage management, character development and direction.
These skills are particularly relevant to narrative dance productions, where choreography needs to work alongside music, acting, visual presentation and storytelling.
His theatre contributions also attracted attention during significant university events, including the official visit of former President of India Dr. A.P.J. Abdul Kalam, as well as visits involving UGC and NAAC inspection committees.
Bringing Different Traditions Together
One of the distinguishing features of Vikram Kumar’s productions is the attempt to bring different artistic traditions into dialogue.
The combination of Kuchipudi with folk forms in Chenchu Lakshmi Narasimha Kalyanam provides an example of how classical and regional performance traditions can be integrated into one narrative.
Such experimentation can create a broader stage experience while also introducing audiences to connections between India’s classical and folk heritage.
For Vikram Kumar, this approach is not about replacing traditional forms. Instead, it represents an effort to present established traditions in formats that can communicate effectively with contemporary audiences.
Building Platforms for Large-Scale Presentations
His work as a choreographer has developed alongside his activities as a cultural organiser.
In 2000, he founded the Nataraj Music and Dance Academy (NMDA) in Visakhapatnam. The academy became a platform for dance education, competitions, cultural programmes and festivals.
Over the years, NMDA has been associated with several major festival initiatives, including Vysakhi Nrithyotsav, Bharat Nrithyotsav, Nataraj Nrithyotsav, Naatya Tharang Sangeeth Nrithyotsav, Sathyabhama Yuva Nrithyotsav and Amaravathi Nrithyotsav.
These platforms have created opportunities for classical artistes and younger performers while allowing larger audiences to experience different Indian dance traditions.
A Broader Role for the Choreographer
Vikram Kumar’s career suggests that the role of a choreographer can extend beyond arranging movements for a performance.
A thematic production requires research, interpretation, music selection, narrative planning, performer coordination and an understanding of audience communication. When classical and folk traditions are combined, it also requires sensitivity toward the distinctive character of each form.
His background in Kuchipudi, academic research and theatre has provided him with experience across several of these areas.
Preserving Tradition Through Creative Presentation
At the heart of Vikram Kumar’s work is a broader concern about the continuity of Indian classical arts.
He has consistently advocated the preservation of artistic knowledge, including repertoire, literature, choreography, musical traditions, gurus, practitioners and performance practices.
His approach to choreography forms one part of this larger preservation effort. By presenting traditional knowledge through large-scale productions, festivals and educational platforms, he has sought to keep classical arts visible to contemporary audiences.
The challenge is to balance innovation with authenticity. Classical forms can evolve in presentation, but their underlying grammar, identity and cultural context require responsible treatment.
A Continuing Artistic Journey
From his early training in Kuchipudi to academic research, theatre, choreography and institution building, Vikram Kumar B R has developed a career that extends well beyond solo performance.
His thematic productions show how classical dance can serve as a vehicle for mythology, history, environmental awareness and social communication. His institutional and festival initiatives provide additional platforms through which such artistic work can reach wider audiences.
His journey demonstrates that Kuchipudi can remain a living tradition when artists are willing to explore new presentation formats while respecting the knowledge and discipline inherited from earlier generations.
For Vikram Kumar, taking Kuchipudi beyond solo performances is ultimately part of a larger mission: to ensure that classical dance remains artistically rich, culturally authentic and relevant to audiences and practitioners of the future.
